the audience applauded

It's no definitive masterpiece but it's damn close.

Highly Overrated But Still Good

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

Anton Ludvik aka Gerard (Yves Montand) is the vice-minister of Foreign Affairs of Czechoslovakia. He is worried that he's being followed. Other officials are being picked up in a purge. He gets picked up by a dark militaristic organization. His family is harassed. His wife Londonova (Simone Signoret) struggles in her new circumstances. He is psychologically tortured to give false confessions.This is basically two hours of movie confinement with his jailers doing all kinds of psychological warfare. At times, I feel like being tortured myself. There's good and bad in that. It doesn't make for a pleasant or necessarily a compelling viewing experience. It's more of a compelling academic exercise. This is the cinematic equivalent of stress position. The acting is impeccable and the production is first rate. It's Kafkaesque and a cry against totalitarianism.

I got dragged into this movie like the protagonist got dragged into the brutal, endless interrogation. Given the overall vapidity of most of today's films, this is a real diversion into the power that really lies beneath the surface of movies, the acting, the writing, directing, and most important the mood. The mood of this film drags you like it does the character played by Yves Montand, as he endures a two year interrogation by the people's republic. It's real historic as well, full of details about Titoists, Trotskyites, and anarchists and paranoia over the struggle to control the communist revolution. But Montand looks great as he endures an impressive variety of interrogation techniques.

Costa-Gavras's inflammatory masterpiece (and followup to the wildly successful Z) focuses on the plight of Artur London, the Czech diplomat dragged into the Slánský trial in 1951. He's accused of being unfaithful to the communist party (a Trotskyite!) and put through a grueling round of interrogation as faceless government goons try to exact a non-existent confession. As "A.L.," Yves Montand gives a gutsy performance, never giving in and managing to maintain his dignity. When all else fails, the government sends in cunning interrogator Gabriele Ferzetti, who finally gets Montand to crack. Their ironic final meeting is chilling. Simone Signoret plays Montand's highly practical wife. Jorge Semprún wrote the bare bones script and the stunning cinematography is by Raoul Coutard.

In "L'Aveau" Costa-Gavras breaks at once and for all in defending one political ideology and attacking the other, like he did in "Z". This time he goes to show that both sides have their problematic aspects, they all make severe mistakes, we can't know which was good and which was bad. The bottom of line is that both with capitalism and communism someone decent always had to pay the prize for trying to do the right thing.Yves Montand plays the victim once again (murdered in "Z" and arrested by militants in "Etat de Siege" closing the combative Gavras political trilogy, "Missing" goes as an addendum, made years later after those films), a Czech and Communist vice-minister who'll be arrested and suffer on the hands of other members of the party who consider him a traitor of their cause. They believe he was a spy who had connections with American officials and all they want is a full confession of his crimes, which never existed, never happened (and they know that!), using of mental and physical methods to achieve results with the prisoner. The confession extraction is the real purpose to be visualized in here, exploited in painful and realistic details, methods used by the Communist - I recalled some of the descriptions made by Soljenitsin in "Gulag Archipelag", released on the same year as "L'Aveau" - like privation of sleep, keep marching at all times inside of the cell, and many other horrible techniques they used on prisoners during months and years if possible in order to break their resistance and confess everything, real or not.We have to give plenty of credit to Montand during those scenes, which are not few. Definitely not an easy shooting to make, you feel his exhaustion, weakening each frame goes by, the visible weight-loss, he went to extremes very few actors can reach and no, this isn't much method acting, one does not go in training method for those scenes, he just put himself there at each sequence. It doesn't go well for the character and it sure does not go well with the audience. It's hard to watch since the brutality and the frequency everything happens is so repetitive as if Gavras was trying to make the people in the audience to break out from the movie when in fact he's just being real with the events, causing some stir in us to the point where we ask ourselves how come this guy is not guilty of treason. In this manifest against the totalitarianism, the writer and director seemed to not making of the Socialists the almost heroes they were in "Z", while investigating the assassination of the popular leader. Their destructive paranoia, the unsubstantial suspicion they had with their own members, it's all a smoke curtain to hide the flaws of bigger people working on the Party and to hide the failures of a deeply flawed and inconsistent regime. Authentic, honorable and well-acted in all possible ways, just not much easy to endure. But truthful, powerful, haunting and rewarding nonetheless. 9/10